Johnny Depp calls on his old friend, the cartoonist Ralph Steadman, in Charlie Paul's documentary For No Good Reason. The movie premiered at TIFF last year and was acquired by Sony Classics before lying dormant for the best part of a year.

Johnny Depp [L] and Ralph Steadman [R]

However, a new trailer confirms that the movie will be released in Spring 2014, which is great news for fans of Depp, Steadman and Hunter S. Thompson.

Ralph Steadman is a widely known cartoonist broadly considered one of the most fundamental artists of contemporary culture with his often horrific drawings that never once reflected his warm personality. He has had his intriguing, maniacal works feature in various medias from newspapers to books, the most well-known of which was 1971's 'Fear and Loathing in Las Vegas'; a novel by his American friend Hunter S. Thompson. Thompson was a journalist who often worked alongside Steadman and making famous after coining the term 'Gonzo journalism' - a form of first person writing that was particularly personal. Steadman now takes us on a journey of the last 15 years, looking back over his drawing style and what influenced him to create his unique paintings.

For No Good Reason will air in 2014 as part of the channel's Documentary Films Season and will guide the viewer through an exploration of Steadman's remarkable life; a man widely considered as one of the most important British illustrators of our time and a gonzo journalism pioneer. The documentary has circulated the film festivals during the past year but will receive a television airing next year.

Often considered as one of the most important artists of contemporary culture, Ralph Steadman is a well-known cartoonist whose usually satirical works were featured everywhere from newspapers and magazines to original and re-prints of books. During this time he frequently worked alongside his overseas pal Hunter S. Thompson, a journalist famous for coining the term 'Gonzo' journalism; a type of writing that is especially inclusive of the writer and usually written in first person. Steadman is now the only living co-creator of the writing style and takes us on a journey over the past fifteen years showing us his artwork development and the central themes that inspired his drawing process while giving us insight into his life, his troubles and his various friendships over the years.

Rare is the individual who can leave a mark on his chosen profession. In the case of Dr. Hunter S. Thompson, there's an entire school of journalistic thought named after him. Architect of the now infamous "gonzo" style of reporting (taken from a random critical comment offered by a friend), the man who followed the Hell's Angels for a year, struggled to see the America Dream in seedy Las Vegas, and hit the campaign trail in '72 to discover more "fear and loathing," remains an icon to an entire generation. Disaffected and constantly cantankerous, there was nothing predictable about the artist also known as Raoul Duke. Even his abrupt death by a self inflicted gunshot wound in 2005 seemed shockingly apropos.

Along with the more personal documentary Breakfast with Hunter, Gonzo: The Life and Work of Dr. Hunter S. Thompson stands as a seminal work of talking head biography. It tracks down many of the important people in the Kentucky-born bad boy's life, and lets them wax poetic and profound for almost two hours. Within the reminiscences we learn of his initial love of writing, his time as part of the notorious outlaw motorcycle gang, his experiences with Ken Kesey and the Merry Pranksters, a run for sheriff of Aspen, Colorado, his eyewitness account of the 1968 Democratic Convention in Chicago, and his various run-ins and affiliations with members of both the counterculture and Establishment.

"Breakfast" for Hunter S. Thompson means a tray full of uneaten food and a large glass of ice filled with Chivas Regal.

With the meal out of the way, we can sit down to the rest of this documentary, a rough and unpolished chronicle of a few years in Thompson's life, roughly 1996-1998, during the planning and making of Fear and Loathing in Las Vegas. Director Wayne Ewing must be great friends with the notorious writer, as he appears to have unhindered access to the minutiae of Hunter's life. In addition to the various meetings (lots of honorary dinners, lots of speeches in his honor, a handful of public appearances), we go behind the scenes -- most notably to bear witness to his squabbles with Repo Man director Alex Cox, the original director of Fear and Loathing, who wants to have a cartoon opening to the movie.